MOMA's Print/Out investigates the definition of "print."
"The thing is to think about print not as a mode of fabrication ... but as a mode of distribution," said curator Christophe Cherix when we spoke prior to the show's opening: in a world of ever-accelerating social and technological change, he pointed out, print can be understood to mean any system that diffuses ideas across the cultural landscape. Many of the objects in the show present not as printed pages or artist prints, but as paintings or sculpture or some other iteration, clinging to “print-ness” only by way of their means of production or theoretical conceit.
Postedsdfon February 22nd, 2012 8:43am
Pruitt-Igoe’s death by dynamite was a televised event seen by millions, and it seemed to confirm the belief by many that the country’s thirty-year experiment with social housing had ended in a complete failure. When the blasts went off, and the great facades prolapsed, few mourned their passing.
Postedsdfon February 4th, 2012 1:49pm
John Hill was on a roll. It’s a John Hill roll, which is to say it rolls fairly quietly, and very smoothly. The 38-year-old architect, blogger, and author was in the McNally-Jackson bookstore in Soho on Monday night, treating a small audience to a voyage around the five boroughs by way of a slideshow based on his just-released Guide To Contemporary New York City Architecture (W.W. Norton). The crowd, a good mix of old and young, was predominantly local (evidence the accents during the Q&A session) and distinctly not design-world-looking (viz., dressed normally), and as the slides flipped past each new-built, glass-enclosed edifice, Hill gave a capsule-length taxonomy while listeners nodded and issued satisfied little noises of recognition. The Hearst Building: “Hmph.” 497 Greenwich: “Ahmpf.”
Postedsdfon December 9th, 2011 11:20am
The debut function of the Pavilion of Arts and Design—the latest addition to New York’s already busy calendar of art fairs—was going full tilt, and all 52 exhibitors of 20th-century paintings and furniture were standing at the ready, in stall after well-appointed stall, even as the carpets were still being stapled to the floor of the old drill hall. Each paid between $30,000 and $50,000 for the privilege of being here, a big bet that this fair, and this space, would bring out the high rollers.
Postedsdfon November 14th, 2011 1:46pm